Controlled Chaos: Marco Minnemann

Posted on July 23, 2014 by News Team

To say that Marco Minnemann is one of the greatest drummers in the world would be an understatement. Putting together an impressive body of work in progressive rock, and metal with a who’s who of bands a bands and projects such as The Aristocrats, Steven Wilson, Joe Satriani, Adrian Belew, Levin Minnemann Rudess, Necrophagist and many more, Marco ought to be even more of a household name. Perhaps owing to his humility and his German roots, Marco is a rarity in this business: proud but well grounded, appreciative for everything his talent has brought him in life. Promoting his new solo album, EEPS (Lazybones Records) Omar Cordy traded some thoughts with Marco for Ghost Cult via email.

How long was this project in the works?

I’m always writing music. It just belongs to my universe it seems, hahaha. So once there is enough material for an album ready I choose the songs for the right vibe and mission and then the thing will be completed. Eeps in particular was written and recorded mostly during the road in 2013 and at home January-February 2014.

As the sole creative force, what was the writing process like?

I usually write from a theme that sort of either way falls from the sky, in the form of a guitar riff, melody or groove, … Or from a vibe a purposely want to create. These things I never force, I just grab the best ideas when they show up and then build on it.

The songs I’ve heard have a very loose feel to them. Was a click track used or did you just “go for it”?

Half and half I’d say. I mainly use a click track, to keep a possible sequencer option open.

But I do like a feel that sounds ‘lively’, not to be confused with un-tightness , hahaha ;-)). I in fact like precision in playing and recording, but I leave a loose feel or also bleeding into microphones on certain tracks, as long as a groove feels right.

Did you use Roland V drums and or DW drums for the recording?

I used 2 different set ups: A DW cherry wood kit and a DW Jazz custom kit, both recorded in different rooms. On the track Eeps, the intro is in fact a Roland TD 20.

I dig the up-beatness of ‘OC/DC’, it feels like a playful 60’s era song. It just seems happy. Was that what you had in mind when you choose to make it the 1st video?

The first video was done by Scott Schorr and a friend of his. He also runs the label Lazybones Recordings and helped greatly with this album here.

And thanks for your nice words on OC/DC. That song was really just a fun experiment, playing everything in one take pretty much without giving a shit and detuning all instruments. I just wanted to see if that approach works and how it would sound like. So it’s just basically ‘controlled chaos’. But I’m happy that some people got it.

You’re mainly known as a drummer, will we be seeing more guitar session work from you in the future?

I’ve been playing guitar on my albums for almost 20 years now. So, ‘yes’, you’ll hear more guitar from me. For example on the LMR project (Levin Minnemann Rudess).

Do you find playing guitar makes it easier to write for yourself or with others?

Absolutely. When I write music on the guitar I really just focus on the drums later to compliment the song. Also when writing for the Aristocrats as an example I basically write for a ‘stringed’ trio.. And writing on a guitar on bass then, definitely helps to translate into the music that the trio is going for.

At this point in your career do you still find time to practice or are you too busy working with others?

Well, I think that composing, recording and performing really is an ongoing process, isn’t it? But I do practice things that I’m interested in and want to be able to explore of course. Also, I really play everyday, music just belongs there in everyday life it seems. And I feel like I’m missing something if I haven’t had a certain dose of it. Like food.

What other projects have you worked on recently that we should be on the look out for?

Hmmm, I’m touring with Joe Satriani right now. Then also with the Aristocrats. Recording wise there’s a new Steven Wilson album in the making. A new Aristocrats album and also Joe’s new recordings. So…, life won’t be boring it seems for a while ;-)).

What was your first concert you ever played?

My first concert I ever played was when I was 12 years old, my drum teacher at that time wanted me to go onstage and play a few songs. Man, and I was soooooo scared. I just sat there thinking ‘don’t fuck up… Just make it though the song… C’mon you can do it’. And then after I played a little solo spot within the song arrangement, people started to applaud. That’s when I basically ‘woke up’, and I saw all these smiling faces looking at me. And then all of sudden I didn’t want to leave the stage anymore, hahaha. It felt so rewarding that people brought the energy back in return to what I’ve worked for. So that moment pretty much defined that music is passion and a dedication for me.

Buy EEPS here!

Marco Minnemann on Facebook

Marco’s Website

OMAR CORDY

666% Free – Jan Slezak of Ramlord

Posted on July 16, 2014 by News Team

One of the most exciting underground bands in America today is Ramlord. Led by the positively nihilistic Jan Slezak (Leather Chalice), their mesh of crust-laden blackened d-beat has kids beating the piss out of each other up and down the east coast and scowling a lot in general. Sort of an anti-hero band for people in these times of anti-everything; these guys play fast, sick music without apology or regard for typical conventions. Their recent album, Crippled Minds, Sundered Wisdom (Hypaethral Records) was a keeper too. Ghost Cult scribe Sean Pierre-Antoine has risked his own life and limb in the mosh pits of raided-by-police DIY venues and Elk’s Lodges to witness the fury Jan and his mates put down. It was only fitting that a fellow eccentric, like Sean, pen this Q & A for the band to try to uncover some ugly truths about them.

Aside from the obvious, what inspired the name Ramlord?

The name Ramlord was created by founding member and ex-bassist Brian, who played on Stench of Fallacy and the couple splits that followed it. I can only imagine his sick obsession with melding common livestock with honored religious figures. We praise the horned one eternal at the dawn of each painful, regrettable day.

On the topic of influence; what are some non-metal/punk artists that the band draws from?

I honestly don’t listen to anything outside of trve territory besides some harsh noise/power electronics and dark ambient, although those genres don’t have much influence on Ramlord. We draw from all extreme corners within punk and metal though.

You’ve got splits out with Cara Neir, Condensed Flesh, Welkin Dusk, and most recently, Nuclear Devastation; do you have a favorite?

Each release is special to me and slowly helps fill the many voids I experience on a daily basis. The romantic sounds of ‘Ceaseless Grief’ (from Welkin Dusk split) serve a different purpose than the introspective ‘Affliction of Clairvoyence’ (from Cara Neir split) so it is difficult to decide.

How would you describe the creative process behind the “normal” Ramlord song?

Although I write a majority of the music and bring it to practice beforehand, the songs shape and evolve when other members contribute their ideas to the sound. We often jam on one riff for a very long time until we can churn out the filthiest noise from it and then commit the best part of the jam into a short section of the track. It is an ever-evolving mass of sewage although it is always very clear when the trail of slime runs dry.

At the risk of raising discontent; is there anything you are dissatisfied with under the Ramlord name?

Ramlord is the ultimate project I can image being in, as I feel 666% free to pursue the musical direction in my filthy heart. All those strange pieces somehow come together to create one vision, or perhaps not, but our discography is so fragmented through short releases that no one notices.

How do you view the growing popularity of your stench?

It is very rewarding to see people making bootleg crewnecks and getting numerous pressings of releases and seeing my words and music resonate with many other suicidal failures. I have a very specific vision for songwriting and I am getting closer and closer to it with each release, this is the only optimistic aspect of my life.

What are your thoughts on the term “USBM”, and do you feel as though Ramlord fits in this category?

I would guess our closest genre is “blackened crust” although I feel quite detached from the metal, hardcore and punk scenes in my area. People have told us we aren’t “black metal enough” so this could be a big reason why.

What band(s) would you kill to tour with; active, non-touring or dead?

For all eternity :: Discharge. Other legends like Blasphemy, Incantation, Venom, Coffins, Abigail, Autopsy, Saint Vitus, Bathory hologram, etc..

How many songs about death, despair and loneliness do you have left in your collective soul?

I always thought I was constantly evolving lyrically with each release but I recently read through all the lyrics in one session and realized they are all about self-loathing and the fetishism of death’s release. No matter what I set out to write about, it comes full circle to the one true master : death.

Should we expect musical experimentation on future releases?

The newer recordings we have are heavier and use more ODSM influence, however, there are no plans to leave the banner of punk and metal any time soon. We have often talked about doing a 40-minute song of pure doom but with the constant barrage of splits, it might be a while before that happens.

Is there ever too much Discharge?

Absolutely not. I have never heard of a Discharge-clone I didn’t like, especially live. All bands should play Discharge covers, regardless of genre, if they want to be taken seriously (by me).

Smoke weed//Kill cops forever

Ramlord on Facebook

Ramlord on Bandcamp

Future Ramlord releases:

Krieg/Ramlord (7” on Unholy Anarchy, cassette on Wolves ov Hades)

Stench of Fallacy repress (cassette on Wolves ov Hades)

Untitled EP (7” on Broken Limbs)

Sea of Bones/Ramlord (7” on Broken Limbs)

SEAN PIERRE-ANTOINE

Holier Than Thou – David Nuss of Sabbath Assembly

Posted on June 24, 2014 by News Team

Fascinated with the teachings and the hymns of Process Church of the Final Judgment, David Nuss founded Sabbath Assembly as a tribute to this underground, avant-garde, practically unknown sacred music. Since the Church worshiped both Christ and Lucifer equally, they were outcasted from society, even by other fringe religious movements, such as Scientology which they shared some history with. Because they were disbanded by the late 70s, the hymns were thought to be lost to antiquity until Nuss discovered them and interpreted them for his records. Ghost Cult scribe James Conway connected with Nuss for an interview and received an account of this history, a glimpse into their genius vision, and examined Sabbath Assembly’s new opus Quaternity (Svart) as well.

When did you first become aware of the Process Church of the Final Judgment?

In 2009 I met original Processian Timothy Wyllie who showed me an advance copy of his book Love Sex Fear Death about his time in the Process.

How did the music of the church first affect you when you first heard it?

There was no music to hear, only sheet music from the hymns. The hymns had never been recorded because they were thought of as liturgical, rather than commercial. So our idea is that these two could meet – not commercial in the sense that we’re raking in the dollars, but in that the songs could be presented in the public marketplace rather than exclusively.

Do you have any input from current members of the Church on the recording and writing process?

There are no ‘current members’ because the Church fell apart in the mid 70s, and most people who were members then are not very public about it now because of the negative press the Church received. Timothy Wyllie, who was in the Church from its inception til it morphed to be an entity called “The Foundation Faith,” was a kind of ‘spiritual advisor’ on our first album, Restored to One, as was Genesis P. Orridge on our second, Ye Are Gods. Then we started getting some critiques from a guy called Anthony D’Andrea who says he was in a Boston Chapter of the Church in the 70s. He said we weren’t playing the hymns ‘as they were’ back in the day’ – which I’m sure is true. We’re doing our interpretation! So he played a couple over the phone for us, and those became ‘Lucifer’ and ‘The Four Horsemen’ on our new album Quaternity.

Can you explain a little about the fourth element; the nature of evil and how it relates to the Christian Holy Trinity?

I don’t think it does relate to the Trinity exactly. The founding Church fathers (they were all men) deliberately left aspects out of the formation of the original Christian doctrines and creeds. These guys were not psychologists creating a balanced and healthy way for people to live; rather they were creating an autocratic government that needed a ‘spiritual’ component for validation of authority. Christianity was more multi-faceted before these guys starting decided who was a heretic and who wasn’t, creating a faux “Orthodoxy.” The idea of four elements is much more pagan, that is close to how nature actually works – solar/lunar, masculine/feminine, four directions, four elements (air water fire earth). The 4 is more about balance and natural reality, rather than political manipulation.

How did the recording of Quaternity come about and how does it relate to your previous two releases?

This is the second recording with Jamie Myers. How has she fit into the band and how does her approach differ from previous vocalist Jex Thoth? (If at all)

This recording was specifically crafted for Jamie’s voice. She came in a bit late in the game on the Ye Are Gods recordings cuz the songs were already done, so she had to fit what was there. This time we built our sound around her; we are so grateful to have her in the band. We took months making demos and sending them back and forth to her (between New York City and Texas where she lives), not rushing anything, so we could craft each track carefully, giving them each a unique voice.

Restored to One, the album with Jex, was much more experimental in that she and I had been working with a huge variety of musicians in developing the songs, and the recording of the album was almost improvised with a couple of last minute hired-gun jazz musicians. And Jex was eager to get back to her own project. Now, Jamie and I are in this for the long haul, so we’re really working on a true band dynamic.

There are many guest performances on Quaternity. Can you describe how some of these came about?

Daron Beck has been Jamie’s friend and neighbor since they were kids, and we have both been long time admirers of his voice and his band Pinkish Black. Mat and Marja from Hexvessel are total cohorts in the world of ‘holy rock n roll” so including them was an obvious choice, which led to our subsequent tour.

You have performed on stage with several metal bands despite your music having no obvious metallic sounds. What kind of reaction have you had from metal audiences?

Metalheads love Satan, so anytime we sing about Satan they are happy. And Jamie hates singing about Jesus so we don’t really do that much anymore, ha. Even though our music doesn’t sound metal exactly, she and our guitarist Kevin Hufnagel (Gorguts, Dysrhythmia) and I were all born and raised on distorted power chords and double bass, so we’d like to think the spirit of metal is in there. If you check out what’s “metal” going back the last nearly 40 years there’s a pretty big variety so we are thrilled to be part of it’s ongoing development.

Is there a limited number of hymns for you to adapt on further recordings or will you be able to continue Sabbath Assembly with music inspired by the Church or similar?

The next album is going to be all original tunes, inspired by our time working with the Church, but completely separate from it.

Do you have a dream artist or band to collaborate with, that you have yet to?

Honestly we’re done collaborating. Our unit is so tight right now that we don’t need any extra assistance.

What touring plans, if any do you have on tap for 2014?

We are touring Northern Europe in May, beginning at the Heavy Days of Doom Town fest in Copenhagen on May 4th. See you there!

Why should readers of Ghost Cult check out Sabbath Assembly?

Our goal is to create beautiful and uplifting music that supports all your angels and demons. The intention is to be affirming of wherever you’re at.

Sabbath Assembly on Facebook

JAMES CONWAY

High Art, Dark Hearts – Dragged Into Sunlight

Posted on June 4, 2014 by News Team

Burning candles. Backs turned resolutely to the audience. And of course the ever-present goat skull. It’s fair to say that Dragged Into Sunlight are one of the most intense and overwhelming live acts this country has ever produced, and we haven’t even mentioned the deafening volume and harrowing serial killer samples yet. For those who can take it, Dragged Into Sunlight’s set at Temples Festival will in all likelihood be impossible to miss. Let’s just hope they don’t set the fire alarm off. Mysteriously due to the closely guarded anonymity of the group… we are not sure which member answered our questions.

You are notoriously choosy when it comes to live shows. What made you agree to play Temples?

Temples has one of the more intriguing line ups that the UK has seen. Naturally, we were intrigued.

How important is the visual aspect to your live show?

Dragged Into Sunlight places significant emphasis on ‘feeling’ music in all of its forms. Dragged Into Sunlight is subjective and the importance therefore varies between individuals. That said, ultimately Dragged Into Sunlight has one motivation, putting everything we have into every moment we have and that integrity and intensity is second to none.

It’s been 18 months or so since the release of Widowmaker (Prosthetic). What has the reaction been like?

Widowmaker was well received. Whilst perhaps not the easiest to digest, it is anticipated to withstand time where others consistently fail. It is a recording which continues to challenge perception and serves as a suitably apt summary of a very specific window in time.

Is it difficult choosing a set list when so much of your music is best digested as a whole rather than via individual songs?

Whilst some may value specific parts over others, given that Dragged Into Sunlight is a completely selfish endeavour, the decision process is relatively straight forward. It is what it is, and you are free to consume as much or as little as you wish.

Is it hard to maintain your preferred method of anonymity in the digital age and does this approach make it easier or harder to reinforce the idea that Dragged Into Sunlight exists as a concept rather than ‘just a band.?’

It is certainly unfortunate that contemporary society struggles with the unknown and there exists what is almost an entitlement to know. Given the composition and the number of individuals involved, it would be difficult to interpret Dragged Into Sunlight as anything other than a concept. That said, every concept requires an explanation and where there is explanation there can be an understanding.

You have recently announced your first tour of Japan. What do you anticipate from touring in the East?

Godzilla Vs Mothra.

You have previously collaborated with an artist, Den Unge Herr Holm who depicted a show you played in Norway last year. How did this come about and do you anticipate similar collaborations in the future?

It was not a premeditated collaboration rather a chance encounter, nevertheless Kim Holm is exceptionally talented and we look forward to meeting again on our next visit to Norway. Whilst we always anticipate collaboration, time is not always on our side and we do what we can with the time available to us.

You have recently collaborated with Gnaw Their Tongues. Can you tell us about this meeting of minds and any news on a forthcoming full length release?

It derived from mutual admiration following meeting in 2010. We anticipate releasing a selection of those recordings in due course. We are currently writing and experimenting new material.

What bands are you most excited about sharing the stage with and seeing perform at Temples?

Repulsion and War Wolf.

What can we expect from your Temples set?

Misery forever.

Dragged Into Sunlight

JAMES CONWAY

Cloak of Freyja – Gunnar H. Thomsen and Terji Skibenæs of Týr

Posted on May 15, 2014 by News Team

Týr has toured heavily for their latest release, Valkyrja (Metal Blade) a grandiose record that nicely showcases their brand of Viking/Folk Metal. Complimenting the strong performances and evolved sound is a different lyrical take on their usual subject matter, showing how powerful and influential the women were over the men. At their Atlanta, GA stop on the Halo of Blood tour, bassist Gunnar H. Thomsen and guitarist Terji Skibenæs were kind enough to grant Ghost Cult an interview before their set, chatting with senior editor Lynn Jordan.

It’s been one month into the tour; how is it going so far?

Gunnar H. Thomsen: Very good!

Terji Skibenæs: Everything smoothly, so far, yeah.

What has been your favorite place so far?

TS: It’s always L.A. for me

GHT: Yeah.

Hopefully you’ll like Atlanta.

TS: We like Atlanta too. We’ve been here many times before.

GC: Good! We love our Metal down here.

As the opener, is it difficult putting together a set list?

GHT: It’s not that tough, the tough thing is we have to leave so many things out.

What song did you have to leave out that you really wanted to squeeze in?

GHT: Many (laughs). We know there are a lot of songs that people want to hear, especially the songs with a lot of the choir stuff in it.

That is hard to duplicate live.

TS: But we get a good response for being the first band.

Have there been a lot of people yelling for songs during your set?

GHT: Yes.

TS: Yeah, they’re screaming about it every day, wanting a longer set, but we can’t, of course.

So how is the new material going over?

GHT: It’s going down very well with the audience. Really really well.

So there isn’t a lot of, “Yay, that’s okay now play an old song”?

TS: No, we only play two old songs, the rest is from the new album.

I love the new record, so I don’t have a problem with that.

GHT: We haven’t had any negative response for playing the new stuff. Only thing, is, again, is they wish it were longer.

Since you’ve been getting such a positive response, will you be back in the States any time soon?’

TS/GHT: Oh, yes!

As part of a festival or on your own?

GHT: We are going to do a few festivals.

TS: In Europe, not in the U.S. Are there any festivals here?

(laughs) Europe has the best festivals. What is the biggest festival your going to play?

TS: The next big one is probably Copenhell in Denmark.

Cool, so that’s like a homecoming show.

TS: Yeah!

The new songs have a very triumphant and upbeat quality to them. What do you attribute that to? Did you let the storyline set the mood or did you already have that kind of energy going into the writing process?

GHT: It’s really always whatever we come up with.

TS: Yeah, Someone will come up with a riff, then when we’re done, Heri writes the lyrics.

Do you think this record is a a culmination of the sound you’ve been seeking over the last couple of records?

GHT: Yeah, definitely, definitely.

TS: The style we heading in now, yeah.

GHT: It has turned into something that we all really like. It’s more interesting for the audience.

How did the concept for the new record come about?

TS: Well, we’re always writing about Viking men…

GHT: So, we thought a little bit of sex.

TS: A bit more of that!

How did the track “The Lay of Our Love” with Liv Christine come about? Did you have her in mind?

GHT: Heri met her at a festival…

TS: …And he was invited to sing a song with them at the festival.

GHT: She wanted to do the same thing with us, do a song on the record. We already had the song, so it was an obvious choice.

That’s great considering the concept of the record.

You guys did a high production CGI video. What was the experience like, and would you do it again?

GHT: I LOVED it.

TS: I love it. I will never do outdoor again. I hate that. We all do.

GHT: It was really easy.

TS: A lot of people doing everything, makeup….(laughs)

Do you have an idea for the next video or what song it will be?

TS: Fire!

GHT: Fire! Fire! More Metal!

TS: Yes, so people won’t think we’ve gone soft with this latest video.

Any new songs?

GHT: Pretty soon we’re going to start working on the new record.

TS: We have to start getting new material. But it always takes time.

GHT: It won’t get recorded until next year.

Do you find it more challenging doing covers of popular songs like ‘Where Eagles Dare’ or ‘Cemetery Gates’ rather than something more obscure?

GHT: No, for us, this was something that we decided a long time ago that we were gonna do. The record companies always want a bonus track, so we decided to take a favorite song from each person in the band. So we each picked one…that’s the way it came along, so it’s not really challenging, it was pretty straightforward.

TS: Yeah, we just record it.

GHT: We just focus on doing our best, and not try to imitate it too much, I guess.

When you guys are not touring or making music, what are your hobbies or interests?

GHT: Diving, I worked as a plumber.

TS: I’m a tattoo artist. That’s pretty much all I do.

How do you book folks with your schedule? Do you go to people or do they come to you? Do you have a shop?

TS: People write me, email…they to come to me, to Faroe Islands. From Denmark, Finland…

GHT: Sometimes he will have it on tour.

TS: Yeah, but it doesn’t work when you’re the first band, you don’t have the space, and it has to be clean.

Is there a music scene on the Faroe Islands, and are there any bands we should check out?

TS: There’s a cool Metal band call Hanferd.

Since Gunnar you’re in Denmark, how did you guys rehearse for the tour.

GHT: We don’t rehearse. We just practice at home. And we send files when we’re making the songs, we just record them on Protools, or whatever and write down the tablature and send an email to the next guy.

So what about preparing for a tour?

TS: We rehearsed a few days before in order to get it together, that’s all. (GHT) lives in Denmark, so he doesn’t come.

GHT: I do my best (laughs). It’s something we have to do, but it’s not easy. I didn’t realize it was that far from the Islands to the mainland.

Týr on Facebook

LYNN JORDAN

Behavioral Science – Rae Amitay of Immortal Bird

Posted on May 8, 2014 by News Team

Immortal Bird may come from Chicago, but to listen to them you might think they looked out their back window and lay witness to a misty, frozen fjord. Playing a strain of modern black and death metal with other style elements mixed in, combined with striking production values heard too little from this scene they are making an impact. Having played mainly around Chicago, their did a brief US tour this winter to support their debut EP Akrasia (Closed Casket Recordings). We caught up with front woman and group mastermind Rae Amitay after their tour stop in Worcester, MA for an interview.

How is the tour going?

“The tour is going great! I’m really happy with how everything’s been playing out. We’re really getting into the swing of things now, and I’ve gotten to see a lot of friends.”

How do you feel about the response the EP has gotten so far? “

It’s been pretty amazing, and I feel really good about it. You never know how people are going to react, especially to a brand new band with no point of reference, so receiving such overwhelmingly positive feedback is a relief of sorts. I’m sure we’ll get a scathing review at some point, but ideally there will be some sort of constructive criticism hidden amidst the evisceration! I’m glad people are finding something to connect with in our music.”

What is concept behind Akrasia?

“It’s not a concept album exactly, but most of the lyrics deal with the emotional repercussions of acting against one’s better judgment. That’s what ‘akrasia’ is – weakness of will – so a lot of the music explores that side of human behavior.”

Did you develop the concept and the lyrics, or the music first?

“The music came first. Then as I was writing lyrics I started noticing some common themes, and ‘akrasia’ seemed to be the perfect word to describe the overarching message.”

Did you always envision being the front woman for this project and did you have any reservations about doing it?

“I always knew I’d record the vocals for Immortal Bird, but I wasn’t sure about it ever becoming a live project until later on in the writing process. I had a few reservations, because I didn’t want us to get pigeonholed by the whole ‘female-fronted’ thing. I hate even mentioning it, honestly, because it’s so irrelevant to everything this band is about. It can be frustrating, and at times I thought I didn’t want to go through the hassle of explaining that ‘female-fronted’ is not a genre tag. Aside from a few lazy write-ups that felt compelled to repeatedly mention my gender/appearance while writing about our music, I have very few complaints.”

You had a dream team of metal production gods working with you on this album. How did you get connected with Jeff Ziolo, Kurt Ballou and Brad Boatright?

“Jeff came recommended to us by our live drummer, Garry Naples (Novembers Doom/Without Waves). He was a pleasure to work with and he put in a ton of hours to make sure we had a product we felt strongly about. I’d always wanted to work with Kurt and Brad, and they’re a dynamic duo of mixing/mastering, so I just went ahead and asked! I’m grateful that they took us on. I don’t think it’s the last time we’ll be working with them. Their body of work is incredible, and I still have moments where I’m incredulous that Immortal Bird’s debut EP was placed in such gifted hands. Having personnel of that caliber involved really sets the bar high for our next record!”

Other than the Chicago connection, how did Garry come into the project?

“Garry is a good friend of mine, and he plays drums for damn near everyone in Chicago. I’d seen him play with a bunch of different bands, and it was clear to me that he could breathe new life into our material playing it live. It’s also quite beneficial to our dynamic that he and John Picillo (bass) are in another band together called Without Waves. They’ve been a rhythm section for almost a decade, and it shows. They’re completely locked in with one another, and it’s an incredibly important variable that brings our performances to a higher level.”

This is a return of sorts for you, coming back to the Boston area fronting your own band, as opposed to playing with others. Does this bring up any emotions for you?

“Only good ones! In the past, I’ve been a hired gun. It’s an entirely different set of emotions to be on the road with a band that I created. Seeing so many friends tonight means more than I can say. Even though I live in Chicago now, this feels like ‘home’ to me.”

Aside from Immortal Bird most people associate you with Thrawsunblat. What is going on in that camp?

“Thrawsunblat is alive and well! We’re currently writing and plotting for our third full-length. That’s all I can say for now, but yeah, there is a bunch going on!”

One thing that really stands out about you the most is your talent. The novelty of women leading black and death metal bands is well over, but that doesn’t mean there aren’t idiots out there. Have you had to deal with any knuckle heads so far in your career?

“Oh, of course! People haven’t been nasty so much as they’ve been rude, haha. Guys have come up to me and said, “I thought your band was gonna suck because you’re a girl, but you were actually really good.” I think that’s meant as a weird backhanded sexist compliment, but moments like that make me hope that the person in question is not planning on reproducing. There was also a guy who suggested “less screaming and less clothing.” That was more blatantly knuckle-headed, and I suggested “less speaking and less breathing”. He wasn’t amused.”

Outside of music what are some of your hobbies you wish you had more time for?”

Frolicking with puppies. Seriously. I would love to have a dog, but with my lofty touring goals, it’s not going to be possible for a few years at least. I also wish I had more time for non-music writing. I get so preoccupied working on new songs that I don’t really have a ton of time to jot down words.

Immortal Bird on Facebook

Words: KEITH CHACHKES

Live photos: HILLARIE JASON PHOTOGRAPHY

Search for Truth: Colin H Van Eeckhout of Amenra

Posted on May 2, 2014 by News Team

While Belgium may have a reputation for delicious chocolates and quaint cobbled streets (Bruges anyway), one thing they aren’t short of is bands that matter. One such Flemish favourite is the mighty Amenra, a collective of individuals who use all the means at their disposal, be that audio and visual to put on a show that you can’t tear your eyes away from. Their highly anticipated performance at Temples will be one to remember, especially if they have to dish out some punishment to talkative audience members who won’t shut up during the quiet bits. Ghost Cult’s James Conway caught up with Colin H Van Eeckhout to discuss the festival and other happenings with the band.

Like several bands you are sharing the Temples bill with, you are careful about what gigs you choose to play. What was it about Temples that attracted you?

Everything. As soon as the first names were announced I fucking felt we had to be a part of this. It just felt right. I immediately mailed our booker.

It’s been a few months since the release of your last album. What has the reaction been like and how have the songs fitted into your live show?

It was really incredible. We didn’t expect the reactions to be so overwhelmingly positive. In all honesty we didn’t feel like we had accomplished a great thing with this record. We wanted it to be better. We really felt we had more inside of us. We never feel too sure or certain about ourselves or what we do. Right now we play 3/4 of our mass V album. I’m stoked the new songs have their part in the live set now. It always takes awhile for new material to find its way into our bodies. We have to be really confident, and almost lay it on autopilot before we can really lose ourselves in there. We know we have to give it the time it needs.

Can you explain what exactly the Church of Ra is and how it relates to your live show?

The church of Ra is an assembly of kindred artistic spirits. We each seek answers to questions that haunt us, in our own specific ways; we try to lift each other upwards in any way possible. Our live show, that would be the live visuals done by our guitar player Mathieu Vandekerckhove. As for our entire ‘graphic’ world a lot of us entwine and create something bigger.

Your recent video for ‘A Mon Ame’ is certainly different from most music videos. How does the video represent the song and what was it like working with Willy Vanderperre?

It was mind-blowing, to be a part of such a professional project. Normally we do everything ourselves, from filming to editing, writing and so forth. It was Willy who approached us, and at first we got to know each other a little better. I soon realised that Willy and Nicolas would be the perfect match, that we could trust. We obliged ourselves to let go for the first time. We had to let go to make this happen. It was just to confronting for us to only work with our physical selves. We would’ve never dared to keep it so pure and honest. We had kept hidden in shadows and live visuals for all these years. And now we were alone in the open at night. Under a watchtower of punishing light.

Are you ever worried about crowd noise and hecklers during the quieter parts of your songs when you play live?

I’m never worried, only irritated when it happens and it happens sometimes yes then we have to go offstage to set them straight.

Can you tell us about your upcoming split release with VVovnds?

Right now we’re focussing on writing new acoustic material and most of our new releases are built around that. I’m happy that we are able to do this split with VVovnds. It’s KJMs band, one of the founding fathers of Amenra, now ex-member. It’s a part of a series of splits with all different bands, Hessian, Mathieu Vandekerckhove, Scott Kelly etc.

How important is photography and art in relation to Amenra and do you have any future plans in regard to this?

We have been blessed with the presence of Stefaan Temmerman, a photographer, and friend, who has been following us since 2010. During this period he joined us and now is our stage tech on every live show. He has become a big part of what we do. June 2014 will harvest a new COR book featuring more photographs by his hand taken throughout the period. Art has a very big role in everything we do; we want to attack all senses. Every medium possible will be used in our search for truth.

Do you have any news on a forthcoming full-length release?

It most likely will be an acoustic album, following up our 2009 Afterlife acoustic EP. We never set deadlines. It’ll be there when it’s ready.

You are playing directly before Neurosis at Temples. Is it intimidating or exciting to play before such a big influence on your band? Do you aim to upstage them?

It is still one of the most exciting things to do. They have indeed been one of the biggest influences on us, as a band. I remember the first time we ever played together, one of the highlights of our existence. It’s one of the most beautiful things ever to get the recognition of the artists who went before you, inspired you, who led the way. We don’t care about upstaging anyone; we just do what we do. Everytime.

What can we expect from your performance at Temples?

It will be honest, true and profound, above anything.

Amenra on Facebook

JAMES CONWAY

Uncharted Waters- Anneke van Giersbergen

Posted on April 29, 2014 by News Team

We were thrilled to interview Anneke van Giersbergen, a lady with a voice like a bell and a personality that matches the smile that seems to permanently inhabit her face. Known from The Gathering and collaborations with Anathema and Devin Townsend among others, she went solo in 2007. Chatting with us just before her show in 013, and a few days before she set off to the USA to be on the Progressive Nation at Sea cruise. We spoke with her of the cruise, audiences, how metal never lets you go and of being a mother and a performing artist.

You’ve been invited to go along with prog nation at sea, a cruise, with pretty much the biggest talents in the Prog genre. How excited are you?

Totally excited, there are some really big names, and also some huge heroes of mine, who I’ve been listening to since I was little. For instance Adrian Belew and I’ve followed him since I know him, he worked with Zappa and King Crimson and I listen to all that stuff. I think he’s one of the best singers in the genre and of course best guitar players. So yeah, I’m just looking forward to watch all the shows. And I get to play myself, And it’s on a cruise and it’s good weather. So all these cool facts make me not sure what to expect. I have no idea how this is going to go, or how much fun it will be. It’s a whole different thing so I’m looking very much forward to it.

I know you’ve worked with Devin Townsend who is on the billing and you’ve worked with anathema in the past, who are also going. Are there going to be any collaboration on the boat?

Well, officially I’m playing with Devin Townsend and I’m playing my own solo set two times. If Anathema ask me do anything of course I will, and I think Danny is going sing a few songs with me in my solo set. Cause it’s you know, old friends. It should be a logical thing to do. It’s going to be good.

Pretty much abroad, Europe and us, you’ve got pretty high esteem, while here in the Netherlands we’re pretty much just peeking a round the corner with some thing you’ve done. Do you notice the difference?

There’s a difference in all territories I’d say. And it comes with waves. With The Gathering in certain places they were bigger than I am now and in certain places they were smaller than I am now. And also I notice differences in the audience, like in Europe I have a much younger crowd, new kids discovering the alternative genre and myself. And in the Netherlands when I’m on the television like at de Wereld draait door, there are people who discover me there. People who never listened to metal or rock before but they do like this. They’re people who listen to mainstream music but they do like alternative rock, so they like this. So you have the old gathering fans, the new fans and the very new fans, who I call office ladies, the spunky office ladies with the red hair and who have kids.

With The Gathering you were catering to an alternative metal crowd, while with your new things it’s not really metal anymore. Is The Gathering still looming over you or has it grown into its own thing with a separate existence?

It has grown into its own thing, but my past is always with me, because it’s part of me. I actually like that very much. I like people who listened to The Gathering in the old days and they come check me out now as well and they like the new stuff as well. I really really like that, because everyone is always in transition anyway all the time, in terms of what they listen to and what they feel like. So I am always evolving but the audience is as well. And I love The Gathering music and I love to play the songs. And sometimes I still make dark music and sometimes I make a pop album. And that’s the cool thing about being solo, I can make whatever. Whatever comes to me I can actually make happen, and that’s nice.

We’re more metal than rock oriented at Ghost Cult Magazine and there are probably plenty other metal oriented magazines that keep an eye on you from when you were in The Gathering. Metalheads don’t really let you go ever do they?

No. I made one album, In Your Room, that was quite a dry pop album, although if I listen back to it, it’s quite alternative and has quite a few dark moments. But lots people said this was quite light to their taste, yet they still come out and see my show and they still buy the album, because actually they are just curious about everything. And what greater audience can you wish for than that they are curious? And then they have their favorite album. Some people really like the pop album, or the ballad album or a bit darker. And now this one, drive, is very up tempo pop-rock. But it’s very heavy in production. I noticed people in prog think this album is so much fun. It is well played it is good quality, it has good vocals, they all love that. But it’s all three minutes songs, so it’s not necessarily what they always listen to with the Pink Floyd stuff and the long songs. But they say it gives them high spirits and energy, so they take along the three minute songs as it gives them energy. And I have no idea when I write songs and record, which group of people will like it and who will not like it. For some reason the prog world has embraced this album. It’s great!

Was it Drive or the one before that was nominated for the award in the Netherlands?

No it was the one before, Everything is Changing, and I got quite far. I actually got into the top three. Of all the albums of hugely famous artists in Holland, so I was totally surprised by it.

That’s great! You also did the title track for a Dutch movie, was that on the last album or before it?

It was actually a separate track, a cover of john legend – please baby don’t fall in love with me it is called. The director actually wanted me to sing particularly that song so I recorded it for him. It was great, to be in a movie right? Like you have the last scene and then the song starts, it’s fantastic.

So would you like to do more things like that?

I would love to! Because it’s tailor made music, this is the movie, this is how it’s supposed to be and supposed to sound and you kind of tailor make your version of in this case a cover, for this movie. And I kind of like to think like that. “OK how can we get this effect, what instruments do we need, how should I sing it? Should I sing it loud and intense or softly.” It all has to do with this particular last scene of the movie. Musicians never work like that when they make an album, it’s kind of the other way around. We just do what we feel like. Unless you make a concept album.

Apart from a musician you’re also a mother, and a touring musician as well. We’ve seen with a number of other big female fronted bands and solo artists as well that this becomes a problem. You however seem to be combining the two rather well, how do you do this?

I often wonder. I think actually every working mother has the same challenge. Because you have to divide family time and work time. As we own our own business, we can work 24 hours a day. There is always work. So we have to make a conscious choice every day. Now I’ll stop working, or start working. Now I’ll take care of the kids. On Sunday we usually make this mathematical schedule of the rest of the week, and each week we say “how the hell are we going to do this?”. But we make it work every week, and I love the two worlds. I love being at home, but when I’m home a long time I get anxious. Then I play a lot I love to be outside and play a lot and I love to be on the move. And after a tour I go home and I love the balance between the two world. Because I know people who only tour, and don’t have a family or kids. And they get a little estranged and detached from the world. They don’t have many real friends anymore. There are bands who can totally do that, but a lot of people I see sort of become stranger, and being a mother it really grounds me. Because you have to be up at 7 and you have to make dinner. So you can’t be a diva or anything. It’s two worlds that are great together. It’s a challenge physically, because I never sleep.

Especially when you’re on tour for a longer time, because your husband, Rob, is in you band as well, how do you do this, do you take your son with you?

Sometimes, when we tour in nightliner buses in Europe. We have a buss with a bed, you you have your little habitat outside the venue. Then we take Fin, our son, with us. He gets homework from school, so he studies every day. Usually tours are not very long, maybe three weeks or so, and he comes with us. So I have Rob and Fin my son, and then I don’t really have to go home, because I have home with me. And then I’m totally happy playing and being with them it’s all I need. But there are a lot of times I’m away on my own or when I’m on the road with rob but with out fin. We have good people who take care of him then, but we always try to combine it. He is quite used to it as well.

The only thing I can ask for is any last things you’d like to share?

I am writing new stuff, and I have no idea where it’s going. I’m always inspired right after I finish an album. I always think okay, now I’m going to go here, or there and I’m writing stuff. We’ll be touring in Europe and South America, maybe North America until the end of the year. Not everything is set in stone yet but we’re working on some tours that will be playing around the year. That’s the round we make, writing and touring.

Anneke on Facebook

Words and live photos by Susanne A. Maathuis

Brothers In Arms – Jake Adams of Valkyrie

Posted on April 21, 2014 by News Team

Being in a band can be a tough gig. Especially so when one of the members is in a very popular band. Known better as the original band project of Pete Adams of Baroness, since 2002 Valkyrie has put out two solid releases along with some over the years and the occasional regional tour, or festival in their home state of Virginia. Still, this quality outfit should be bigger by now, and is a must listen for fans of Red Fang and High On Fire, proto-metal, doom, and throwback heavy metal lovers. Ghost Cult scribe Dan Swinhoe caught up with guitarist/vocalist Jake Adams, Pete’s brother, to give us an update about the progress of this group, the status of their next album, and the current state of the band.

How do the dynamics of the band work? Is it your band and your rules, or more of a democracy?

It’s definitely democratic. The reason we are playing with these guys is because we know they have a lot to offer as far as ideas and sheer talent to each song that we write. That being said, usually me or my brother (Pete) come up with the bulk of the riffs and song ideas and Alan (Fary, bass) and Warren (Hawkins, drums) will definitely bring a lot to add to that. Most of the basic riffs I write, and Pete often adds harmonies and brings in ideas to get me “out of the box.” The dynamics of song writing work well, as long as Pete and I know what we are doing on guitars – so we spend a lot of time outside of whole-band practices getting our leads and harmonies together.

What’s it like being in a band with family? Easier or harder to work with?

It is definitely easier because we don’t have to think so hard about everything, things just flow naturally because we have such a history playing and being together. There are times where we tend to push each others’ buttons and it makes for some awkward van rides because Warren and Alan don’t want to pick sides. But Pete and I are quick to work through things usually.

When people siblings in the same band, there’s often talk of some sort of psychic chemistry that makes them a better unit- what’s your take on this?

I would definitely agree – often we hear something at the same time and both start taking the song in a certain direction.. it definitely makes things a lot smoother.

How do you and your brother’s playing/songwriting styles differ?

Well, what I tend to play as far as solos tends to be more thought out, but less spontaneous. Pete’s soloing is like capturing lightning in a bottle – he never plays the same solo twice, he tends to “feel” things out more than myself.

Do you feel you fit into any sort of scene at all? There’s been a bit of a resurgence of classic-style rock in the last few years- Witchcraft, The Sword, Graveyard etc- do you think people are looking back to the early days of rock/metal more?

Oh yeah, definitely – there is definitely a resurgence in heavy metal and older rock for sure. We are definitely part of that, but I can’t think of too many bands doing what we are doing. First off, we don’t employ any occult themes or satanic shtick, which tends to define a lot of bands in the hard rock scene, also we lean more to late seventies hard rock than the earlier blues based stuff. Also the vibe of our music tends to be more positive than a lot of bands in the doom scene – throw in clean vocals, harmonized leads, and you start to narrow down the list of bands doing what we are doing. I wouldn’t say we don’t fit it, but our sound tends to stand apart from most of the bands we play with.

Which bands are you a fan of nowadays?

I wish I could say I was a fan of more new bands, not much is really doing it for me these days. There are some friends’ bands worth mentioning : Inter Arma, Earthling, who are doing great things. I stick to the classics like Priest, Sabbath, Maiden, Wishbone Ash, Camel, Skynyrd, old Scorpions, old Whitesnake, Rainbow, stuff like that. We all listen to different stuff, for instance Alan listens to a lot more death metal and thrashy stuff than I do regularly.

What’s happened to the band since the release of Man With Two Visions?

Well, a lot. My wife and I have had two kids, we have a new bass player ( Alan). Pete joined Baroness and has been touring a ton, and I have started a career in teaching. We have been slowly but surely working on the third record, which is finally getting close to finished.

You’re a teacher now, do the students know about Valkyrie? Do they like it?

Yeah, I usually tell them about it- you always get a select few that actually go check it out online and a always have a few that are pretty into it. But as you can imagine, not too many 13 year-olds are going to gravitate to traditional doomy hard rock .

How did Pete joining Baroness affect the band?

Well, Pete’s schedule tends to be very busy with Baroness so often times it gets hard to plan for gigs. But Pete’s skills have improved a lot since he plays so often with Baroness and he has brought a new perspective to Valkyrie as far as songwriting is concerned, some new ideas that playing with Baroness has given him.

The first time I heard about the band was the Man of Two Visions re-release on Meteor City, and aside from the quality music the Baroness connection was one of the things that piqued my interest- Do you think the association has been good for the band?

I think so, wherever Baroness goes, Pete can continue to be an ambassador for Valkyrie – and some people have definitely found out about Valkyrie from Baroness.

Likewise- is it tiring at all having that association?

Not really, real fans and genuine music critics “get it,” and can see the relationship between the bands. I have no problem being associated with them, their approach is totally unique, they are one of the most entertaining and talented live acts around. I’m proud of what they have done, because we grew up playing music together, so their success makes me happy. No worries.

Baroness & Valkyrie are very different bands, but do you ever hear anything in Pete’s playing on the Blue record or Yellow/Green that reminds you of Valkyrie? Have you actually heard the record?

Oh yeah, I am quite familiar with all their stuff. Yes, definitely, you can hear Pete’s playing on the records he was a part of. He has a distinct tone he achieves with the fretting hand that stands out from time to time. Listen to the solo on ‘Horse Called Golgotha’ and you will see what I mean.

Can you talk me through your experience of the crash Pete had while on tour with Baroness?

I was in Honduras, I think it was the day before school was set to start at the private school where I was teaching. I stopped by my apartment for lunch and I happened to look on Facebook, where I saw something about a bus crash. My heart sank and quickly called home for more info. Luckily by that point my brother had called my dad and let him know that he was ok. I was still really concerned for everyone else of course – it is miracle that they came out as well as they did considering the scope of the crash.

How the split with Earthling come about?

Earthling is from the same place ( Harrisonburg, Va) that Valkyrie has considered its “hometown” for a while. They are good friends of ours; a while back the main songwriter/vocalist for Earthling, Alan, joined us on bass. So we are closely connected. It was a logical thing to do, since they were our “brothers in metal” in Harrisonburg – plus they are amazing! We are pleased with the results, it sounds great, and the original 1000 that were pressed are pretty much gone and Tension Head is toying with the idea of a reissue.

What stage are you at with the new album? Can you provide any details? [Album title/track names/release date/anything?]

We know what tracks will be on the album, we are just demo-ing the material right now and tweaking it all out, refining it. Probably 8 tracks. No other info yet.

How are you going to release the new album? Self-release/ via a label | online/vinyl etc…

We haven’t decided yet, but we will probably keep it low-key as far as labels- we aren’t going to be touring constantly anytime soon so we don’t really need a big label to support us right now. Something smaller, where we can maintain a larger share of the proceeds would suit us better. Meteorcity Records still has our cds and records for sale; Tension Head Records has the recent Mountain Stomp 7”.

Valkyrie on Facebook

Dan Swinhoe

Spirit Guide- Karyn Crisis of Gospel of the Witches

Posted on April 16, 2014 by News Team

Karyn Crisis. Her name is synonymous with brutal music, creativity, and artistic integrity. As the leader her own band out of New York City in the 90s, hearing Crisis, especially live, was brutal and ear and mind opening experience. Karyn had left the spotlight for the most part until a few years ago, joining Ephel Duath as their vocalist. Now forming the nucleus of what is to become her first true solo-project Gospel of the Witches, Karyn is stepping back out of the shadows. Along with Davide Tiso, she is putting together an amazing lineup of collaborators to bring this project to life. Together they have taken to a crowdfunding campaign via Kickstarter to raise the finances to make the album as independently as possible. Ghost Cult’s Christine Hager caught up with Karyn to delve into the creation of this project.

Thanks so much for taking the time to talk with me about your new project, Gospel of the Witches, Karyn. Can you tell me a bit about where the idea came from and what type of musical expression we might expect from this killer line-up of musicians you’ve brought together?

Thank you for your interest, I appreciate your support. In fact, I’m so grateful from the support I’ve been receiving far and wide, starting with the men I chose to be a part of this album. They are all phenomenal musicians, and a dream team for me to work with. Each person has a specific strength that lends itself to the expression of this album, each person has his own power that is important to this album. I’m honored to have Davide bestowing me with the this album. It goes beyond my highest desires and has created a living, breathing place I want to crawl into and be consumed by. I worked intently and trying to imagine the ultimate album I’d want to have and what he’s written goes far beyond my dreams. Davide and I met under the auspices of making my solo album in Tuscany. Instead of making the album then, both our lives would change with the absolutely undeniable presence of a “ghost;” a Tuscan Witch in Spirit who would begin teaching me Ancient Ways while I was in Tuscany, and who’d continue to be my Guide when we returned to the U.S. While our focus was on getting the album made as soon as possible, she had other plans for me; a transformation I needed to undertake. I needed to experience this transformation before the album would be ready to be received by me and also by Davide. This album is dedicated to my Spirit Guide and symbolically what she endured as a witch, but also as an ode to what any of us endure when we feel we must live keeping part of ourselves in secret. This album is also a sonic symbol of the Union of God and Goddess; masculine and feminine energies unabashedly shining in their strengths. These songs are Incantations; they move energy, they are magick in sound. Davide’s guitars and compositions are like the searing flames that set this whole monumental album on fire and break the listener open; Danny keeps the driving heartbeat, Ross and I (and on 2 track Michael Hill) create the thick and serpentine rhythms, chants, and incantations pulsing forward and within. People are so curious about this line-up, which I think is fantastic. As a Seer I feel the energies in people beneath the surface, and to me this group of people are a recipe of great potential.

Have there been many changes to the direction of the music over the five year period of it’s creation, or has there been a consistent vision throughout?

The vision for the album was always focused, but it was difficult for me to express this to Davide and at the beginning, for me to even imagine it completed. And therefore the song atmospheres morphed quite a bit. I’m not a musician in the same way I’m not an artist. I don’t sketch, nor practice painting yet I paint images beyond my skill set. Musically I don’t jam. Musically I have my voice, my vocabulary, and as a naturally introverted person I have to be brave enough to let this out. Davide, in contrast, is an accomplished musician: precise, technical, controlled, and also wildly emotionally expressive. So to get this album in the desired musical direction, I tried explaining to him the atmosphere I imagined. As with all my creative work, I create it in my mind’s eye first, or my inner hearing. If I can see it there complete, I know it can be manifested. I work from thin air. In this case, it took me time to create an intense enough atmosphere in my imagination and to keep energy focused there so it would grow beyond just my mind, and in someway out to Davide. I know that this process works for me: creating out of thin air, but it’s a challenge when working with others, to be able to express the energy of something, which is more abstract no matter how many adjectives you use, versus showing someone something concrete. I have to be the master builder in my imagination and work with people I feel akin to energetically so the information will be received along energetic lines versus physicality. And while this project began between just Davide and myself, I became compelled to reach out and collaborate once it was clear and undeniable that we’d arrived at our sonic destination as a result of personal growth.

What part will Mike Hill of Tombs be playing on the album?

I began to hear Michael Hill’s vocals on two tracks in my mind when I was rehearsing and writing two specific songs. A few months later he let me hear the new upcoming Tombs album, and I felt it was time to invite him into the project. He has a wonderful mid-range with tone that bridges the gap between mine and Ross’s.

Davide Tiso had issued a statement regarding how this project has changed your musical and personal lives. How so and in what contrast to working together in Ephel Duath?

Davide is very much in command of all compositions and lyrics and guitars in Ephel Duath. That is his world, and when he invited me to sing for Ephel Duath, I did not want to change the chemistry between ED’s signature rhythmic relationships between voice and guitars. He is very disciplined and dedicated to his music, and he has a strong will to make things happen, and to do them well, keeping in mind they leave a mark in time, so carefully create that mark in your way. He is inspirational to me; I love to watch him so connected to his music, and I’m in awe of the emotional intensity he can unfurl. Just when I think he’s taken a riff or passage to the most gut-wrenching place, he will elevate the breaking point even more. It’s his language, and he has such command over it, but also such a trust.

With GOTW, and in my life in general, my will is irrelevant. I am a very hard worker, I’m very disciplined, but there is a very recognizable force at work with me, and if that force or if my soul doesn’t deem some creative project necessary to be continued, the energy leaves it. So no matter my will, the “right time” for something to happen is a bit beyond my control. I’ve learned that in this lifetime my soul has a specific dance in mind for me, and in Spirit partnerships I can suddenly arrive technically at a very advanced place without having to “practice” the art of getting there. For example, after I left Crisis I didn’t sing for several years at all. And when I felt a clearer picture of GOTW coming into my mind and knew I wanted some very feminine and melodic vocals in these songs, suddenly I had a well-developed middle range to my voice which I hadn’t achieved in 13 years of singing for Crisis. With all my creative projects, when the Spirit assistance is there, things manifest at an accelerated rate and can surprise people. At the same time, this requires surrender, which can be difficult to accept. So Davide and I have waited a very long time for me to be ready to create this album, the lyrics, the visuals, the videos, and everything else around it. We consider this album a great act of love; something we’ve worked towards and it broke us open in many ways, this meeting of will and surrender, and the force of energy created this heart-wrenching, epic album.

With David doing both bass and guitar on the album, has there been any talk of how you might accomplish this live or will Gospel of Witches be strictly a studio band?

I certainly have my own desires to take this live, and a specific blueprint to make it happen. However, it’s just too early to say. Right now, the goal is to get this album recorded. Studio time is booked! There’s so much work to do until then. As many people know now that the music business has become more transparent due to bands discussing it more, if GOTW isn’t seen to have any value by the business, we may not have the market value to afford to go on tour. So first things first, creating this musical monument.

What made you chose to work with Jamie King (Between The Buried And Me) at The Basement Recordings? Have you worked with him before?

I haven’t worked with Jamie before. But as Davide was helping introduce possible producers to me, I felt Jamie had the talent to work with many layers of sound and make them all huge, intense, and listenable. There are some songs that Davide’s composed 13 layers of guitar tracks for, and each song will have at times jul to 6 vocal tracks or more, so it was important to work with someone who can help take the potential here to great heights, and I believe Jamie is the one to make it happen.

Growing up in the country with no high speed internet or access to a metal scene, Crisis’ “Waking The Dead” was one of those random tracks I chose to seek out online and waited days to load after reading about you in a metal magazine. In what way have different forms of media helped your career and how has the use of Kickstarter on this project been beneficial as to who you’ve been able to reach out to?

Technology has certainly changed things and brought us all closer together in some ways. Your story is one I’ve heard over and over again, and it’s wonderful. In my early days of buying vinyl I had to rely on imported zines from other states or countries, and the few record stores who’d carry imported albums. Kickstarter has been a warm welcome into this world even further. It’s reconnected me with many people from my past, and many people who had no idea about my musical past. With this project also, I was able to create these mini films with Davide’s help. I learned, literally over night, how to use video editing software with no previous experience, but again, the internet also provided me with quick lessons on how to use Adobe Premiere Pro Cs6. When it would boggle my mind and stress me out, I’d go back to what I know: meditation, and I’d receive images of certain buttons I needed to press to solve certain problems.

Can you tell me a bit about what appeared to be a near death experience, as depicted in the short video on your Kickstarter page and how this life experience has inspired the forthcoming album?

It was a long time ago now that I almost died, but it had a significant bearing on my young adult life. My life was similar to the “6th Sense” movie, where “dead” people followed me around. While they terrified me, at the same time I felt close to the Spirit Guides around me; they helped guide me through this world and all the illusion. There would come a time where I’d have to come to terms with these abilities and how to organize my skills to communicate more clearly with Spirit people of all types and to move through my fear of certain experiences. The Spirit Guide to whom this album is devoted became my teacher in these regards until I began to train as a Spiritualist Medium in San Francisco, giving platform readings in public and training in a traditional Spirit Circle. This long journey from Ancient Ways to modern Spiritualism and everything that occurred in-between is what this album expresses.

What has it taken for you to surrender your voice as a channel beyond you; accept what has been summoned for your projection? Was it a struggle to accept this role if you did not feel like a musician at first?

I call it “the summoning,” when I feel my Witch working through me, especially compelling me to sing. After I left Crisis, I never thought I’d feel that again, mistakenly attributing that “summoning” mostly to the music even though I made it clear that there was some presence watching over the band and supporting us. I felt that “summoning” again with Ephel Duath and it was an incredible joy to be reunited with that feeling. For me, it’s very natural. Even though I don’t consider myself a musician. People have asked me for years how I do the things with my voice that I do, but I don’t think about it. I create from thin air: sometimes I chase the historic trail of a word in a thesaurus, and that trail becomes like a meditation. In these moments of writing lyrics, I begin to hear the vocal lines in my head. Then I have to figure out how to actually sing them, and often they are out of my vocal range. It comes from a place of trust that I have with my inner world. The power of it did overwhelm me during the last years of Crisis’ history, however. I find people drawn to that energy, but in reality my personal energy is much smaller, and that juxtaposition can confuse people.

I’ve recently experienced shamanic breath work and the profound journeying it can provoke into our past lives, fetal memories and future selves. Intense bursts of grief, rage and sadness. Are the toms and double kick meant to be the beat to which we follow own journey within your music?

The drums emulate a heartbeat or a countdown; a steady beat that helps one “lose time” and be present in the moment. When we meditate, we go into darkness. It’s usually a constant that allows us to break through the illusion; a constant silence, a constant beat, something that occupies some part of our attention yet lets us escape the ego and journey elsewhere. In shamanic work it’s the drum beat that takes us into the trance. Even more on this album will be the vocal choir. When I was in Crisis, I responded as a vocalist perhaps in unusual ways: the drums were what I wrote my vocals against. The guitars provided atmosphere or perhaps a note to jump off of, but it was the drums that I worked with. With GOTW, all Davide and I had were his guitars. So I had to become my own rhythm section and create the beats with these thick, layered vocals.

Why was the contrast of the masculine and feminine so important to what you’ve composed and why did you seek out Ross Dolan of Immolation to compliment you in contrast?

I asked Ross Dolan to be a part of the vocals on almost every track. It just felt like his voice belonged there, thick and deep and unbending in his power. While I’ve known Immolation from my early days in NYC, it was a recent track, “A Glorious Epoch” that compelled me to reach out to him. For GOTW, I was inspired by this idea of the layers of vocals holding the song in place against the intense emotions from the medieval monks and Tibetan monks who chant their prayers and mantras, and of the ceremonial magicians who know how to use the “magician’s voice” to move energy with sound. It was ideal for this inspiration to be expressed beyond what I’m capable and to open my collaborative doors to working with male vocalists I admire. Gender, and moving past its limitations, has always been a part of my work. However, in the past I felt more identified with male energies within me, partly as means to protect myself from abuse I endured and to not become a victim of it but to transform these experiences and empower myself. Now that I’m older, I feel safer to identify with a more feminine side of my energy, and I wanted to be free on this album to express that, but to still also have the darker side of things anchored by heavy, deep vocals. As I’ve come to find a balance in my own energies, and the Witch has taught me the strengths of feminine energy and how to empower myself with it, it’s only natural to work with this idea of the “Union” of opposites, the “Union of the God and Goddess” energies; of light and dark, of action and surrender, and blend them artistically for a greater, holistic expression of opposites. I can only do so much with my voice, so naturally I had to look outward to collaboration.

Is the number 13 of significance to you and your choice to create that many songs for the album, or was it pure coincidence?

13 is considered to be the number of the Witch, the number of transition of those brave enough to burn in their own fires and be born again.

I see you have hand crafted all the gifts involved in this campaign as promotion incentive and must compliment you on how truly innovative and beautiful they are. Have you also started creating the album art as well?

Thank you. I have begun creating the album artwork, and it promises to be just as special.

It’s been disputed by various historians and folklorists that The Gospel of the Witches ever existed even though they’re documented as having great influence on the creation of Wicca. What is your belief on the matter?

The Gospel of the Witches texts are rightly disputed. Buddha and Jesus’ stories as well. Aradia, Buddha, Jesus..we’re dealing with Ascended Masters here; stories of ordinary human beings who mastered the art of being a limitless soul- energy temporarily housed in a finite physical body. Bringing both into balance is what opens the doors to the Great Mysteries. This is done through Spirit partnerships. So the details of the stories are irrelevant. The broader perspective and the greater truths these stories are trying to tell us is that we all are potential Masters of our lives, and we all have the opportunity to allow our lives to master us and attune us to the Natural Laws of Energy. We therefore have the opportunity to be empowered by expanding beyond what we think is possible for a finite human being. There is no “supernatural,” it’s all a natural part of being eternal consciousness.

Is there a way people can send you their support if they miss the campaign?

Absolutely! Starting April 21, I will be launching an Indiegogo campaign for just a few weeks as per fan requests, so that whatever I earn there I keep for studio. You will be able to go to Indiegogo.com and search: KARYN CRISIS. Longterm, in my Etsy shop I will have album pre-orders and some of the special packages available here. All pre-orders go to fund the album recording and expenses:

https://www.etsy.com/shop/KarynCrisis

Please also keep an eye on:https://www.facebook.com/Gospelofthewitches

https://www.facebook.com/KarynCrisisOfficial

CHRISTINE HAGER

Ghost Cult Magazine

Music News, Interviews and Reviews that matter.

Category Archives: Q & A

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666% Free – Jan Slezak of Ramlord

Holier Than Thou – David Nuss of Sabbath Assembly

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Cloak of Freyja – Gunnar H. Thomsen and Terji Skibenæs of Týr

Behavioral Science – Rae Amitay of Immortal Bird

Search for Truth: Colin H Van Eeckhout of Amenra

Uncharted Waters- Anneke van Giersbergen

Brothers In Arms – Jake Adams of Valkyrie

Spirit Guide- Karyn Crisis of Gospel of the Witches